Burgeoning liminality: artistic interventions in visual culture from Northern Ireland post-2016 EU referendum.

新兴的阈限：2016 年欧盟公投后北爱尔兰视觉文化的艺术干预。

• 批准号: 2893488
• 金额: --
• 依托单位: Nottingham Trent University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2893488
• 关键词: Burgeoning; liminality; artistic; interventions; visual

My research will analyse how artistic collectives in Northern Ireland are creating spaces and practiceswhere solutions to the tensions reignited by Brexit can be imagined and trialled. I contend that artisticcollectives should be analysed as virtual spaces wherein communities can engage in prototyping radicalpublic discourses which oppose the reignition of historic political tensions in NI.It has become clear that artist-led organisations are having thoughtful, nuanced engagement withdifficult conversations which have not been possible in political discourse because of sectarianantagonism. The success of 2021 Turner Prize-winning Array Collective raises the question of socialreform through the lens of collaborative action, activism, collectivity, and artistic practice.I will take Mark Fisher's text "Acid Communism" (2018) as a theoretical departure point to argue that, byrecalling radical forms of collectivity from the '60s social revolution, the neoliberal hegemony can becontested through a process of 'unforgetting'. This would preposition NI's '68 , for example, convergingwith the post-Brexit social environment. The 'acid' of acid communism, then, implies a divergent and redirectingsocial imaginary recognising that "the material conditions for such a revolution are more inplace in the twenty-first century than they were [in the '60s]" (Fisher, 2018).In remembering such 'lost' aspirations of the public, Fisher returns to Herbert Marcuse for his "AestheticDimension" (1977) in which the critical value of the arts is located in its detachment from, and discontenttowards, the hegemonic reality. This understanding of artistic practice then extends to Antonio Gramsci's'organic' intellectual (1971) as a social agent functioning with a counter-hegemonic, organisational capacity.This leads me to the following questions:1) What evidence of 'acid communist' practice can be extrapolated from post-Brexit collective artpractices in NI?2) How are artists trialling collective, radical approaches that can oppose hegemonic narratives?3) How does NI's contested history impact contemporary artist-led organisations and their collectivepractices?These questions will guide me to pursue timely and relevant investigations into the cultural influence ofartist-led organisations, as the current stagnation of devolved government in NI causes wider publicdiscontent. Not since events such as the 1968 NI civil rights movement or 1998 Good Friday Agreementhave such conditions arisen in public discourse. The only divergence being that NI's '68 moment wassubsequently marginalised by the atrocities of the Troubles. My third proposed supervisor, Prof ChrisReynolds, recommends that the contemporary context "provides the grounds for a recalibration of thememory of this time" (2018).Accordingly my research will offer an innovative transdisciplinary approach between visual culture andwider cultural studies. The research will offer contributions to cultural policy and public engagementthrough curatorial outputs, exhibitions, workshops, symposia, and semi-structured interviews, whereviable meeting points will be facilitated for broader engagement with my findings. My pursuit ofplacement at Derry/Londonderry's Void Gallery will engage with the theoretical nature of this researchproject on a public level.Research and development of draft chapters will take place across three full years with redrafting,manuscript finalisation, and thesis submission at Year 4.Year 1 will see research into artist-led organisations including Array Collective, Catalyst Arts, and PlatformArts; examining their organisational structure, arts programming, public engagement, and artistrepresentation through the 'acid communist' methodology, culminating in two draft chapters.Year 2 will see research conducted through semi-structured interviews with representatives ofaforementioned organisations including co-dir

我的研究将分析北方爱尔兰的艺术团体如何创造空间和实践，在那里可以想象和尝试解决英国退欧重新点燃的紧张局势。我认为，艺术集体应该被分析为虚拟空间，在那里社区可以参与原型激进的公共话语，反对重新点燃历史上的政治紧张局势在NI。它已经变得很清楚，艺术家领导的组织正在进行深思熟虑，细致入微的参与与困难的对话，这是不可能在政治话语，因为宗派对立。2021年特纳奖获奖作品《阵列集体》的成功通过协作行动、行动主义、集体主义和艺术实践的透镜提出了社会改革的问题。我将以马克·费舍尔的文本《酸性共产主义》（2018）为理论出发点，通过回顾60年代社会革命中集体主义的激进形式，新自由主义霸权可以通过一个"遗忘“的过程来进行对抗。例如，这将前置NI '68，与英国脱欧后的社会环境融合。因此，酸共产主义的“酸”意味着一种发散的、重定向的社会想象，承认“这种革命的物质条件在21世纪比[60年代]更到位”（费舍尔，2018年）。在记住公众这种“失去”的愿望时，费雪回到赫伯特马尔库塞的《美学维度》（1977），在这本书中，艺术的批判价值在于它对霸权现实的超脱和不满。这种对艺术实践的理解延伸到安东尼奥·葛兰西（Antonio Gramsci）的“有机”知识分子（1971）作为一种具有反霸权和组织能力的社会代理人。这让我产生了以下问题：1）从英国脱欧后的北爱尔兰集体艺术实践中可以推断出“酸性共产主义”实践的什么证据？2)艺术家们是如何尝试集体的、激进的方法来反对霸权叙事的？3)NI备受争议的历史如何影响当代艺术家领导的组织及其集体实践？这些问题将引导我对艺术家领导的组织的文化影响进行及时和相关的调查，因为目前NI下放政府的停滞引起了更广泛的公众不满。自1968年北爱尔兰民权运动或1998年耶稣受难日事件以来，这种情况还没有出现在公共话语中。唯一的分歧是，NI的'68时刻随后被边缘化的暴行的麻烦。我的第三位导师，ChrisReynolds教授，建议当代语境“为重新校准这个时代的记忆提供了基础”（2018）。因此，我的研究将在视觉文化和更广泛的文化研究之间提供一种创新的跨学科方法。这项研究将通过策展产出、展览、研讨会、座谈会和半结构化访谈为文化政策和公共宣传做出贡献，其中可行的会面点将有助于更广泛地参与我的研究结果。我在德里/伦敦德里的虚空画廊的工作将在公共层面上参与这个研究项目的理论性质。草稿章节的研究和开发将在三年内进行，包括重新起草，手稿定稿，并在第四年提交论文。第一年将研究艺术家领导的组织，包括Array Collective，Catalyst Arts和PlatformArts;通过“酸性共产主义”方法来检查他们的组织结构，艺术节目，公众参与和艺术家展示，最终形成两个章节的草稿。第二年将通过与上述组织的代表进行半结构化访谈进行研究，包括联合导演